Suchergebnisse

1. Introducing the Contexts of a Moral and Political Theory of Care (Petr Urban, Lizzie Ward) -- Part I Exploring Core Concepts -- 2. Democratic Practice and 'Caring to Deliberate': A Gadamerian Account of Conversation and Listening (Sophie Bourgault) -- 3. Democratic Inclusion Through Caring Together with Others (Jorma Heier) -- 4. Why the Publicly Funded Solution is Better Equipped to Provide Democratic Care 'for All' (Helena Olofsdotter Stensöta) -- 5. Rethinking 'Paternalism' for a Democratic Theory of Care (Marion Smiley) -- 6. The Nurturing Vocabulary of Care Ethics and Other Related Feminist Approaches: Opposing Contemporary Neoliberal Politics (Brunella Casalini) -- 7. Is Caring Democracy a Solution against Neoliberalism and Neopopulism? (Fabienne Brugère) -- 8. Time for Caring Democracy: Resisting the Temporal Regimes of Neoliberalism (Julie Anne White) -- Part II Applications in Different Contexts -- 9. Caring Democracy: How Should Concepts Travel? (Joan C. Tronto) -- 10. Cosmopolitanism, Care Ethics and Health Care Worker Migration (Kanchana Mahadevan) -- 11. Understanding the Social Care Crisis in England through Older People's Experiences (Lizzie Ward, Mo Ray, Denise Tanner) -- 12. Women's Experiences of Poverty in Japan: Protection and the State (Yayo Okano, Satomi Maruyama) -- 13. Deficit of Democratic Care in the Education System in Slovakia (Adriana Jesenková) -- 14. Organizing the Caring Society: Towards a Care Ethical Perspective on Institutions (Petr Urban).

Toni Morrison's The Bluest Eye helped me to understand what it meant to be born black, poor woman in the USA. Her work gave me an ideal platform to explore what it means to be born a poor Dalit woman in contemporary India. In order to understand the layered connotation of the lives of Dalit women, I deliberated upon the selected poetry by Dalit and tribal women poets and came to the conclusion that apparent similarity between the two contexts comes under scanner and ends abruptly with the following comment by Bell Hook in her book Feminist Theory: From Margin to Centre. She writes, 'when the child of two black parents is coming out of the womb the factor that is considered first is skin colour, then gender, because race and gender will determine that child's fate'. On the contrary, a child of two parents from a lower caste will remain a low caste because caste is infallible and independent of the truce of fate-determining the skin colour that may redefine the gender experience. As a Telugu Dalit poet, Chillappa Swaroopa Rani laments, 'Stamped with a low caste, I was born/that day it-self branded slut.' Thus, the thrust of this article is not to bring forth the comparative study between the two contexts but to crystallize the issues of Dalit women as enunciated in their poetry and to engage with the nuances of gender and caste that punctuate their day-to-day lives. This article encompasses the post-colonial feminism theoretical framework that resists the universalization of feminist issues seen and perceived only from the 'Euro-American feminists' point of view and ignores the differences in race, ethnicity, regional diversity, etc., through which a woman experiences her gender biases. The selected Dalit poets are Rajni Tilak, Poonam Tushamed, Rajni Anuragi, Sushila Takbhure, Kunti and Nirmal Putul. The main issues expressed in a tribal poet's works remain Jal-Jungle-Zameen, human trafficking, a lack of legal documentation, witch hunting, etc., while Dalit poets stress on police atrocities, a lack of basic amenities, a lack of quality schools for their children, a lack of access to health care, the domineering influence of patriarchy that punctures their private and public domain, etc.

From the Introduction: When feminism is defined in such a way that it calls attention to the diversity of women's social and political reality, it centralizes the experiences of all women, especially the women whose social conditions have been least written about, studied, or changed by political movements. When we cease to focus on this simplistic stance "men are the enemy," we are compelled to examine systems of domination and our role in their maintenance and perpetuation. Lack of adequate definition made it easy for bourgeois women, whether liberal or radical in perspective, to maintain their dominance over the leadership of the movement and its direction. This hegemony continues to exist in most feminist organizations. Exploited and oppressed groups of women are usually encouraged by those in power to feel that their situation is hopeless, that they can do nothing to break the pattern of domination. Given such socialization, these women have often felt that our only response to white, bourgeois, hegemonic dominance of feminist movement is to trash, reject, or dismiss feminism. This reaction is in no way threatening to those women who wish to maintain control over the direction of feminist theory and praxis. They prefer us to be silent, passively accepting their ideas…(T)here has been a shift within the women's movement whereby critique no longer focuses merely on patriarchal social structures but also on white middle- class women's perpetuation of them to the detriment of other women and possibly to the demise of the women's studies movement in its entirety. Such a juncture has created a tragedy like that of the Medusa. In this Greek myth, an originally lovely woman turns monstrous because of her foolish act of aspiring to be a goddess. We see a parallel between this classical myth and the transformations within women's studies. Facing the Medusa tragedy that has befallen the women's studies movement due to the hegemonic aspirations of its members is so frightening that to join its ranks or to consider taking on such a movement from within could prove death-dealing. The ultimate fear when facing the Medusa for women's studies scholars is that they might prove what their male detractors have been saying--that she was a monster all along.

Este artículo analiza algunos interesantes momentos en la recepción feminista del pensamiento de Hannah Arendt. Al igual que respecto a otros clásicos y clásicas del pensamiento contemporáneo —Beauvoir, Foucault o Habermas, por poner sólo tres ejemplos— nos hemos encontrado con una nutrida historia de encuentros y desencuentros. Tras una primera valoración negativa del pensamiento arendtiano, por parte de las teóricas feministas de la segunda ola, el juicio, posteriormente, se matizará y el estudio de la riqueza conceptual de la autora y de su potencia filosófica —su novedosa concepción de la política, su apuesta por la narratividad y el juicio, su definición de la libertad en conexión con la noción de natalidad, …— harán que se desate un interesante juego de apropiaciones y reapropiaciones, de lecturas e interpretaciones, que, incluso, en el caso de Linda Zerilli, propondrá la posibilidad de pensar un feminismo adjetivado como arendtiano. Al hilo de esta reconstrucción histórico-crítica, hemos enhebrado nuestra propia estimación de la recepción feminista de la obra de Arendt en el contexto de los debates políticos feministas de las últimas décadas. La controvertida filósofa política se ha convertido, en suma, en un referente insoslayable en el decurso de la teoría feminista contemporánea. ; Abstract: This paper probes into some of the different moments characterizing the feminist reading of Hannah Arendt's contribution. Like in the case of many other mainstream representatives of contemporary thought—Beauvoir, Foucault or Habermas, to mention just a few—Arendt's postulates have experienced a long succession of critical engagement and disagreement. After the negative reception of Arendtian thought by Second Wave feminism, the critical judgment will be later nuanced so as to reveal the authoress's conceptual richness and philosophical potentia— her innovative conceptualizing of politics, her commitment to narrativity and judgement, and her definition of freedom in terms of natality will definitely prompt an interesting play on appropriations and re-appropriations, readings and interpretations which will eventually suggest, even to Linda Zerilli, the possibility of an distinctively Arendtian feminism. In parallel with this historical-critical reconstruction I have intertwined my own reading of the critical reception of Arendt's work in the context of feminist debates during the past years, which has turned her controversial figure into a must in contemporary feminist theory.

How can we tap the extraordinary potential of "theory" in graduate feminist training, while at the same time circumventing some of its hazardous consequences? Having earned her degrees before the rise of theory, the author witnessed not only the intellectual excitement it generated in feminist conversations but also its rise to a prominence that qualified its productivity both in the classroom and in doctoral dissertations. By reintegrating literature and literary history in discussions of theoretical insights, students can stretch, undermine, qualify, or extend them. Literary and aesthetic specificities help young scholars move toward original, publishable insights by extending or contradicting, supplementing or supplanting the abstract generalizations posed by the theorists they study.

This article invites disability scholars to "get fat," that is, to support the goals of the fat justice movement. I argue that the contemporary politics of fatness can productively be read through the lens of disability studies' social model. At the same time, I mobilize feminist critiques of the social model to push fat disability studies toward a more in‐depth engagement with the topics of health and illness. Additionally, I contend that feminist scholars' accounts of our personal relationships to fatness and disability can make crucial contributions to our scholarly work. These arguments take shape within a new interpretive framework that I introduce: "setpoint epistemology," which brings together the feminist disability studies notion of "sitpoint theory" and the scientific concept of "setpoint theory."

The income gap within the United States continues to widen. Simultaneously, neoliberalism is beginning to crumble, as the poor continue to suffer under exploitative conditions. The concept of othering will be analyzed through the analysis of other scholarly work. To understand neoliberal action of othering through the tenant it carries of responsibilization. The act of responsibilization creates competition within surviving communities allowing for the further widening opportunities for income disparities without systems for accountability. Utilizing feminist contemporary thought and self-reflexivity, a mixed-method approach facilitates the understanding of othering that occurs in neoliberalist influenced institutions. Using historical accounts, this research will look at othering through the lens of African American women and their encounters with discrimination. Grassroots movements are explored as a solution to resisting the othering that happens in neoliberal societies. Finally, this essay opens the discussion to understand one's own identities to understand income inequality and its connection to its widening gap.

This is an introduction to a special issue on recognition and democracy. We outline the constitutive and enabling relations between democracy and recognition. We distinguish between pre-political and political forms of identity and recognition, between horizontal and vertical forms of recognition, and between democratic and other ways or arranging the vertical and horizontal aspects of political life. We also distinguish between the roles of a subject and a co-author of law. The intruduction also includes an overview of the individual articles in this special issue. The issue tries to fill some theoretical gaps in theories of democracy and recognition, with a special emphasis on feminist politics.

This article explores the prospects for a eudaimonist moral theory that is both feminist and Aristotelian. Making the moral philosophy developed by Aristotle compatible with a feminist moral perspective presents a number of philosophical challenges. Lisa Tessman offers one of the most sustained feminist engagements with Aristotelian eudaimonism (Tessman 2005). However, in arguing for the account of flourishing that her eudaimonist theory invokes, Tessman avoids taking a stand either for or against the role Aristotle assigned to human nature. She draws her account of flourishing instead from the beliefs about flourishing implicit in the feminist and black freedom movements. I examine the implicit conception of flourishing in the writings of two prominent leaders of the black freedom movement—Martin Luther King, Jr. and Malcolm X—and argue that Tessman's attempt to avoid the "sticky issue" of human nature is not successful. Tessman's defense of the burdened virtues depends on a particular reading of human nature as does a eudaimonist account of the virtues more generally.

The essay questions the leading role of literary theory throughout the twentieth century and the reason why Theory with a capital T was born out of the field of literary theory rather than out of any other discipline, such as sociology, history, psychoanalysis, and so on. The author argues that literature–in the modern sense of the term–necessitated literary theory from its very beginnings because of the manner in which it was constituted, namely as a conditioned opening of unconditionality, a fragile, not predetermined potentiality that calls for ever new theorizations in such a way as to incessantly cross its own boundaries. From such a perspective, literary theory can be reenvisioned as having always been multiple and inherently divided, a conglomerate of monsters, a differential force field destined to move beyond its "proper" object and to integrate different approaches and disciplines, generating new fields of research. Because of the changing status of literature today, however, and due to theory's inherent self-destructive tendencies, the fragile unconditionality that makes us free is in danger of being lost.

Seel, MartinVersuch u¨ber die Form des Glu¨cks. Studien zur EthikHeld, DavidDemocracy and the Global Order: From the Modern State to Cosmopolitan GovernanceNelson, Hilde Lindemann (ed),Feminism and FamiliesMeyers, Diana (ed),Feminists Rethink the Self

Esta tesis estudia el biopic como estrategia fílmica narrativa y visual para el empoderamiento de las mujeres en el cine feminista afroamericano desde sus inicios a la actualidad. Los dos biopics seleccionados para un estudio en profundidad, Living with Pride: Ruth C. Ellis @ 100 (1999) y The Rosa Parks Story (2002), traen al frente las relevantes acciones llevadas a cabo por dos afroamericanas que se convirtieron en activistas sociales e influyentes figuras políticas y culturales. Sus vidas fueron silenciadas dentro de los discursos patriarcales y racistas dominantes que también impregnan la industria cinematográfica. Los biopics analizados pueden ser considerados ejemplos rompedores que proponen visiones alternativas de la comunidad negra, especialmente teniendo consideración sobre la complejidad de sus protagonistas. El estudio está estructurado en dos partes de tres capítulos cada una. La Parte I, "Luz sobre sombras: aproximación historiográfica al cine feminista afroamericano", comprende los capítulos teóricos que sirven de introducción a la historia del cine feminista afroamericano y sus significativas contribuciones en el desarrollo del cine estadounidense contemporáneo. El primer capítulo se centra en las precursoras, aquellas mujeres afroamericanas que tanto como directoras, guionistas, productoras, y distribuidoras jugaron una función decisiva en los orígenes de la industria cinematográfica en Estados Unidos. El segundo capítulo está dedicado a las directoras que emergieron en la segunda parte del siglo XX. Y el tercero pone el foco en el cambio al siglo XXI y en la amalgama de géneros cinematográficos nuevos que surgieron en aquel tiempo. Fue en aquel momento cuando el biopic comenzó a ganar en popularidad dentro del cine feminista afroamericano. Este tema será plenamente estudiado en la Parte II: "El biopic como género empoderador en la cinematografía feminista afroamericana." De temática variada, los biopics mostraban una intención común: dar voz a afroamericanas relevantes que fueron recurrentemente invisibilizadas en el curso de la historia hegemónica. Estos aspectos respeto del biopic cómo género en relación a la teoría y crítica fílmica feminista afroamericana serán estudiados a fondo en el capítulo 4. Los dos siguientes capítulos de esta segunda parte estarán dedicados a los dos casos de estudio seleccionados cómo ejemplos representativos del biopic feminista afroamericano. El capítulo 5 estará dedicado a analizar el biopic documental Living with Pride: Ruth C. Ellis @ 100 (1999) de la cineasta independiente Yvonne Welbon, y el capítulo 6 situará su foco en la TV-movie The Rosa Parks Story (2002), de la aclamada Julie Dash. Mis conclusiones finales resumirán como el biopic feminista afroamericano ofrece representaciones heterogéneas de las afroamericanas, rompiendo y desafiando, así, los estereotipos limitadores previamente difundidos por el cine dominante a lo largo del siglo XX. ; Esta tese estuda o biopic como estratexia fílmica narrativa e visual para o empoderamento das mulleres no cine feminista afroamericano dende os seus inicios até a actualidade. Os dous biopics seleccionados para un estudo en profundidade, Living with Pride: Ruth C. Ellis @ 100 (1999) e The Rosa Parks Story (2002), traen á fronte as relevantes accións levadas a cabo por dúas afroamericanas que se convertiron en activistas sociais e influentes figuras políticas e culturais. As súas vidas foron silenciadas dentro dos discursos patriarcais e racistas dominantes que tamén impregnan a industria cinematográfica. Os biopics analizados poden ser considerados exemplos rompedores que propoñen visións alternativas da comunidade negra, especialmente tendo consideración sobre a complexidade das súas protagonistas. O estudo está estruturado en dúas partes con tres capítulos cada unha. A Parte I, "Luz sobre sombras: aproximación historiográfica ao cinema feminista afroamericano", comprende os capítulos teóricos que serven de introducción á historia do cine feminista afroamericano e as súas significativas contribucións no desenvolvemento do cine estadounidense contemporáneo. O primeiro capítulo céntrase nas precursoras, aquelas mulleres afroamericanas que tanto como directoras, guionistas, produtoras, e distribuidoras xogaron unha función decisiva nas orixes da industria da imaxe nos Estados Unidos. O segundo capítulo está dedicado ás directoras que emerxeron na segunda parte do século XX. E o terceiro pon o foco no cambio ao século XXI e á amálgama de xéneros cinematográficos novos que xurdiron naquel tempo. Foi naquel momento cando o biopic comezou a gañar en popularidade dentro do cine feminista afroamericano. Este tema será plenamente estudado na Parte II: "O biopic como xénero empoderador na cinematografía feminista afroamericana." De temática variada, os biopics amosaban unha intención común: dar voz a afroamericanas relevantes que foron recurrentemente invisibilizadas no curso da historia hexemónica. Estes aspectos respecto do biopic como xénero en relación á teoría e crítica fílmica feminista afroamericana serán estudados a fondo no capítulo 4. Os dous seguintes capítulos desta segunda parte estarán dedicados aos dous casos de estudo seleccionados como exemplos representativos do biopic feminista afroamericano. O capítulo 5 estará dedicado a analizar o biopic documental Living with Pride: Ruth C. Ellis @ 100 (1999) da cineasta independente Yvonne Welbon, e o capítulo 6 situará o seu foco na TV-movie The Rosa Parks Story (2002), da aclamada Julie Dash. As miñas conclusións finais resumirán como o biopic feminista afroamericano ofrece representacións heteroxéneas das afroamericanas, rompendo e desafiando, así, os estereotipos limitadores previamente difundidos polo cine dominante ao longo do século XX. ; This thesis studies the biopic as a narrative and visual cinematic strategy for women's empowerment in African American feminist cinema from its origins to our day. The two biopics selected for an in-depth study, Living with Pride: Ruth C. Ellis @ 100 (1999) and The Rosa Parks Story (2002), bring to the forefront the relevant deeds carried out by two African American women who happened to be social activists as well as influential political and cultural figures. Their lives were silenced within the patriarchal and racist dominant discourses which also permeate the mainstream motion picture industry. Both fictional and documentary types, the analyzed biopics can be considered groundbreaking pictures which propose alternative visions of the Black community, especially with regards to the complexity of their female protagonists. The whole study will be structured in two parts containing three chapters each. Part I, "Light over Shadows: African American Women Filmmakers from the Early Motion Picture to Our Time", comprises the theoretical chapters that aim to be an introductory journey to the African American feminist film history and its meaningful contributions to contemporary US cinema. The first chapter centers on the "cinematic foremothers", those African American women who as directors, scriptwriters, producers, and distributors played a decisive role in the origins of the motion picture industry in the United States. The second chapter is devoted to the filmmakers that arouse in the second part of the 20th century. Chapter 3 deals with the turn of the 21st century and the amalgam of new film genres that emerged at that time. It was at that moment when the biopic started to gain in popularity within the African American feminist cinema as a binding genre that embraced many types of film categories. This topic will be fully studied in Part II: "The Biopic as an Empowering Genre in African American Feminist Cinema." Although varied in topics, these biopics share a common intention: to shed light and give voice to relevant women in African American history who have been recurrently invisibilized within the cinematic prevailing discourse. These theoretical aspects concerning the biopic genre in relation to Black feminist film theory and criticism will be studied in depth in chapter 4. The next two chapters in Part II will be devoted to the two cases of study selected as representative examples of the biopics by Black American feminist filmmakers on African American women. Chapter 5 will be then dedicated to Living with Pride: Ruth C. Ellis @ 100 (1999) by independent filmmaker Yvonne Welbon, and chapter 6 will place its focus on The Rosa Parks Story (2002) by the critically acclaimed filmmaker Julie Dash. My final conclusions will summarize how the African American feminist biopic offers heterogeneous empowering depictions of Black American women breaking with and defying the dichotomous submissive-threatening stereotypes spread by most of the 20th-century mainstream cinema.

Nineteenth-century American author, holistic health practitioner, and women's rights advocate Mary Gove Nichols was well known in her own time, founding utopian communities, establishing and writing for health journals, giving lectures, and generally causing a stir by wearing pants and preaching Free Love. Yet, her work is largely unknown to twenty-first-century readers. This article argues that Gove Nichols's fiction and nonfiction, including her autobiographical novel Mary Lyndon (1855), deserve renewed critical attention because of the significance of her philosophy of embodiment for twenty-first-century feminist scholarship. Although Gove Nichols argues that bodies are socially constructed, she does not dismiss bodies in her methods of liberating women from oppression. On the contrary, bodies form the basis of her activism: she argues that in order to reform society, one must look not only to intellectual and spiritual health, but also to the material health of those who live in it. In this way, her work heralds the twenty-first-century feminist theoretical turn toward a new materialism that argues for the resilient and creative potential of bodies in social justice movements. An analysis of Gove Nichols's water-cure-inspired narrative strategies reveals how literature provides a way of thinking about bodies that is essential for theory.

The purpose of this dissertation is to explore the lived experiences of female United States Army veterans who have enrolled in an academic undergraduate program post discharge. As higher education continues to be an important transition point for female veterans, understanding the lived experiences of this population provides higher education administrators and faculty the opportunity to create and implement services and programs that will appropriately assist this population in their educational journey. Using a phenomenological methodology (Moustakas, 1994; Patton, 2015; van Manen,1990) thirteen female veterans across five different eras (Vietnam, 1980's peacetime, Desert Storm, Iraq and Afghanistan) took part in two-semi-structured interviews. Each participant was asked to retrospectively discuss their time in the military; the transition to civilian life; and their transition to and experience in higher education. The interviews were coded, and themes were developed (Braun & Clark, 20107; Saldana, 2016; Seidman, 2013). Three major themes emerged: military culture, the transition experience, and navigating higher education. These themes were examined through the conceptual frameworks of Bronfenbrenner's Ecological Systems theory (1979) and Schlossberg's transition theory (1981) as well as adult learning theory (Knowles, 1968; Mezirow, 1981) and feminist theory (Belenky et al., 1986; Gilligan, 1982; Baker Miller, 1986). The findings from this study suggest that female veterans bring habits, skills, and knowledge from their military experience into higher education that facilitates their academic success. Additional findings reveal the importance of the female veteran having a sense of belonging while moving from military culture to the culture of higher education, the impact of their perceived lack of readiness in the transition out of the military, as well as the value placed by the female student veteran on their relationships with faculty. Dissertation findings underscore the need for more research into the experience of female veterans' by centering their unique voices and by focusing on understanding the female student veteran transition between military and higher education cultures and identities. Having a deeper understanding of the under researched areas of transition and identity will allow higher education administrators and faculty to create and implement services and programs that will support female student veterans in higher education.